1903 1zo Eiltfitmitp,pi..,,.',,,',.,',1,,.,,'1,, .,,,,,.. Impression Indonesian Gamelan cD3
, ',l\'I'ol.i,,,,1','.t.pa,$6d.e i,l French late 19th, early 20th, 1862 - 1918, Proud French Claude
Firstly related to painting Fusions - 2 contrasting styles combination
Impression Sunrise B is centre 1889 - Javaness Gamelan ddlicatement et presque sans nuances Mod6r6ment anim6 main gauche Metallic percussion instruments
main droite Introduction
Printemps o Gongs Symbolism 2.9d 2 ped. Impressionist - Less dramatic ranges of dynamics. subtle A move away from major and minor tonality, functional harmony Modes, whole tone, pentatonic scale. Short pieces based on descriptive titles. Melodic phrases are shorter. Nature, exotic sounds and images.
This edition edited by Hans Swarsenski O Copyright 1972 by Hinrichsen Edition, Peters Edition Limited, London Atl Rights Reserved. lnternationaI Copyright Secured. Used by permission of Peters Edition Ltd, London. Debussy:,Esta'mpes 321
ffi -ffi
_b -r-t o
--1
,- a" tD -:.^,, -G
!-t.
__________.rB:
-J.".
# Toujours anim6 ) #.z,,_'- -*4 -3r3 ppt .i e r-i -+\ 1) Back to B .---f.: ------ -'---: 3?? Area of Study 5 Fusions
.r3 fiE ,--T--- l.\ ,l
#1,=
l\ m.g. e- - . ----.--.\- g *d.g -*
B section E# 33
F# major, D# minor
dans une sonoritd plus claire
il= -a. = Debussy: Estampes 323
a1 il ,-: - -"1
__ _l {i \--t
A Retenu -.TemPo I" fuw {1"tre t^ffi fw
Back to B Bta-----1 Br"------l r3*- r3--r ,, e-)i- 4)2 4)2 =--4:: j--. 324 Area ofStudy 5 Fusions
Bro-----1 --{. ";l atempo 4\u iL2' I /-
4 a_
\o---- _
G# pedal note
A a
-o.- -:t * *
Animez un peu
.rm.w Debussy: Estampes 325
D# is centre ta
_.,,. t _-r.
toujourslff ---, * il aiJ. - t2 )l
)- t- ?. Coda =
::._ --'
aai
B is centre
1" Tempo
r^_ E--_
iro 326 Area of Study 5 Fusions
aza t Debussy: Estampes 327
3 encore plus prp
a--t2 vibraphone a--:
aussi ptp que possible let vibrate
- 328 Estampes CD 3 track
No. 2 'La soiree dans Grenade' Claude De: -:;r
Flamenco Guitar 6 octaves significant amount of sustain.
like a dancer Mouvement de hatlanera Blurred Dynamics - wide-ranging. Structure = sectional # Commencer lentement dans mt rtthnte nonchalamment gracieux Start slowly in a nonchalantly graceful rhythm
# Piano Cuban Dance Rhythm
C# pedal
inversted pedal
prp expressif (et lointain)
B# - semitone triplets augmented 2nd
(BI cross-rhythm ) ))))
limited range, ornamentation
Retenu -- -. Tempo giusto parall 7th chords, characteristic
in strict time 2 single lines
C# pedal Repeated notes syncopation
homorhythmic Widely-spaced octaves
This edition edited by Hans Swarsenski O Copyright 1972 by Hinrichsen Edition, Peters Edition Limited, London Atl Rights Reserved. lnternational Copyright Secured. Used by permission of Peters Edition Ltd, London ' ., ', ' Debuisy: Estompes 3?9
in free time whole-tone scale
Tempo rubato chordal melody. Retenu -
PP\-----' like a pedal, a rhythmic ostinato whole tone harmony
Tempo giusto chordal melody
q+J motif 2 _r__,r -1i1 1
--/ - -,'..-...,si #: -- rI
false relation falling 3rds, sequential
,-----]-\
motif 4
Trds rythm6 intervals of 5th and 4th
melody in octave ngf en augmentant beaucoup >
conjunct
Guitar homorhythmic motif 5
'L---\ JA
; i* I- / -* -_* 330 Area of Study 5 Fusions
M -=_ L
4 false relation melody, chords, rhythm
E pedal pattern Whole tone motif 3
aL *',
E Tempo I' (avec plus d'abandon) syncopation
original tempo
pp
E motif 4 in varied form, more disjunct De'biusst: Eitam pes'',,:,: 731
t) /G1 t-G-
A version of motif 3, no longer the whole-tone parallel chords, triadic
,----:-x
Type text here
.-
Tempo giusto motif 2
-.- q a blocked chords ,33? Ar€n:lof,rstudrS FUsionir
high-tessitura rhythm
pp *l
t0t
L6ger et lointain light and distant
0a ] =,f de la mesure pr6c6dente) 3
monophony
parallel triads
'D".rrd=h- =a Debussy;:Estdrxpes 333
L6ger et lointain Tempo I' Wide-leaping of motif 4 (la. = ) de la mesure pr6c6dente) j\. ,=,] a
